Nobody does anything wrong and it hurts the entire time.
The genius is the husband. Give him one bad quality and the film collapses into a love triangle; leave him kind and it becomes a film about the lives you don't get to live. Song shoots New York like a waiting room — benches, ferries, a bar where three people sit in the wrong order. The Korean word for it does the work the dialogue doesn't have to. That final walk to the kerb is twelve years long. I have never seen a film hold a silence that steadily and never once look smug about it.